REVIEWS

THE BURNING STONES . . . Between the covers

Anni Korpinen is sales director at a firm called Steam Devils. They make stoves for saunas and are based in the little Finnish town of Phutijärvi. She is 53 years old, and married to a waster called Santeri. He is obsessed with historic F1 motor racing, and spends most of his time replaying classic races via scratched VHS tapes. He also buys and sells F1 memorabilia, such as socks reputedly worn by Mika Haakinen. Sadly, he never turns a profit.

When the new CEO of Steam Devils, Ilmo Räty, is found burned to a cinder in his own sauna, the hunt is on for his killer. When the firm’s founder, Erkki Russula, calls a meeting and states that he sees Anni as the obvious successor to Räty, she becomes the person with most to gain from his death. Key personnel at Steam Devils include:
Susanna Luoto – Finance Manager
Mirka Paarmajarvi – Logistics Manager
Jarkko Mutikallio – CEO’s PA
Porkka – Technical Director
Kaarlo – Senior Advisor

Of course, the sauna is completely central to Finnish culture, and part of the accoutrements are little squares of towel cloth which separate the bum cheeks from the wooden bench, and are essential both for hygiene and preventing the skin from becoming stuck to the wood. They are known, at least in English, as ‘bumlets’. When one of the bumlets from Anni’s home sauna, conveniently embroidered with her name, is found in the vicinity of Ilmo Räty’s sauna, she knows she is in big trouble. Reijo Kiimalainen is the community’s senior policeman, and he harbours a grudge against the Korpinen family. Many years ago, both he and Anni’s late father had both been stalking the same elk, the largest in the local forest. The hunting season started at 6.00 am, and at precisely one minute past, Anni’s father shot the beast. Ever since then, Kiimalainen has been convinced that skulduggery had taken place.

Once Anni realises that she is prime suspect in the Rati murder case, she does what all wrongly accused prime suspects do (at least in crime novels) – she turns detective. Although she realises that she is not Sherlock Holmes, but a stove retailer, she is intelligent and resourceful. Her investigations take her to an abandon resort with a sauna the size of a sports stadium, and here she witnesses another sauna related death. This time the victim – the engineer Porkka – is stabbed in the head with the sharpened metal handle of a ladle used to sprinkle water on the hot stones which are an integral part of Finnish saunas.

Anni’s task is made more complicating by the strange behaviour of Kahavuori, a holiday complex owner, to whom Anni had been hoping to sell 64 sauna stoves. When he hears of the death of Raty, he refuses to close the deal. Instead, he adopts what seems to be a very unhealthy obsession with finding the killer. The problem is that Kahavuori is an ardent fan of True Crime documentaries, and he has a vivid imagination. When Anni catches him snooping in her sauna, she clouts him with a lump of wood. When he recovers consciousness, he outlines his theory, and Anni wonders if the crack on the head hasn’t further addled his brain

There is a genuinely touching backstory behind the hunt for the murderer. They are both in their fifties now, but three decades earlier, Anni and policeman Janne were engaged and in love. It was Anni who handed back the ring, but now, as Janne reveals that Anni’s husband Santeri is not the clueless bungler she thinks he is, events take an unexpected turn.

On the cover of the book is a quote from The Times: “Tuomainen is the funniest writer in Europe.” He may well be, but humour is a complex business and takes many forms. I don’t think you will be belly laughing as you read The Burning Stones, and I do wonder how well humour in one language survives translation into another, but I did enjoy the sheer freakery-geekery of Santeria and his idiotic obsession with old motor races. Is he mad? Probably not in a medical sense, but I did wonder why Anni married him in the first place. That aside, The Burning Stones is a beautifully written and engaging murder mystery. It is translated by David Hackston, published by Orenda Books and available now. You can find out more about Antti Tuomainen on social media – he is @antti_tuomainen on X, and on Facebook facebook.com/AnttiTuomainen

October 20, 2024 1

THE WITCH’S DAUGHTER . . . Between the covers

The central characters of this powerful novel are Grand Duchess Militza Nikoleyevna, married to a cousin of Tsar Nicholas II, and her daughter Princess Nadezhda Petrovna. The background, as you might guess, is the decline and fall of the Romanovs, and two headed monster that was WW1 and the Russian Revolution.

The early pages set the tone. The catastrophic failures of the Russian Army, culminating with the Battle of Tannenberg, turn the world on its head for Russian citizens, be they of noble birth or peasant stock. Of course, at that time, the centre of the Imperial Universe was Petrograd, and we learn of the impact on those close to the Tsar’s court of the murder of Rasputin. Historians both professional and, like myself, amateur, have long pondered the great paradox that is Russia. Perhaps no other place on earth can provide such examples of great beauty in architecture and music, but also of the most bestial behaviour by human beings. One of the great ironies is that the place where the revolution burst into flames was a city literally built on a swamp, and costing the lives of 100,000 workers. They died to give Peter the Great access to The Baltic and – arguably – a pathway to make Russia a great international nation.

The Witch of the title is Militza. In her private thoughts she describes how she ‘created’ Rasputin. What are we to make of this? She muses:

“Maybe if she explained how she and her sister fashioned the Holy Satyr from wax, mixed it with dust from a poor man’s grave and the icon of Saint John the Baptist; how she moulded the creature, rolling and warming the wax in her hands; how she baptised it with the soul of an unborn child, the dried up foetus, miscarried by the grand Duchess Vladimir all those years ago; and how they’d called on the Four Winds and the koldun -the insatiable, unconscionable, licentious, duplicitous, covetous, impious, soused, drunk and self appointed Holy Man man from Siberia – Rasputin had come. Just as she had commanded.”

Nadezhda is also a paradox. Despite her scorn for her mother’s ‘sorcery’ she carries with her a bottle of water, allegedly from the frozen waters of the River Neva that melted around the corpse of Rasputin after he was hauled from its depths. While nursing an admirer, a young man called Nicholas Orlof, severely injured in the unrest, she falls back on the old wisdom of her mother. The author (left) allows us to make up our own minds as to the efficacy of the spells and incantations.

The novel doesn’t take sides politically, but I must confess I have a long standing sympathy for the Russian nobility, and it still angers me to read about the utter brutality of what happened on 16th/17th July 1918 in Yekaterinburg. Yes, Nicholas II was weak, and his regime presided over breathtaking inequality by modern standards, but his sins pale into insignificance when judged against those of Lenin, Stalin and, dare I say it, more recent rulers of Russia.

The author puts Nadezhda centre stage as revolution takes over the streets of Petrograd, and the Tsar’s soldiers commit atrocities in an attempt to emulate Canute and turn back an inexorable tide. She is drawn into the animal vigour of the protests, bread marches and the resounding choruses of The Marseillaise. Perhaps I am wrong to say this, but it reminds me of modern day youngsters from impeccable middle class backgrounds taking to the streets to demand the downfall of Israel, or attacking paintings to draw attention to climate change.

As we know, the Tsar’s abdication saved neither him nor his wife and children. Historians still argue over the apparent rejection, by King George V, of his cousin’s request for sanctuary. This book suggests that, even if it had been granted, the Tsar and family would never have made it to Britain unscathed. When Lenin returns in his sealed train, the gunpowder keg explodes:

“The Neva was thawing. There was an open stream some 20 yards wide alongside the banks while the centre still remained frozen. And along with the filth swirling through the streets and the slush came the rats and the rebels. No one was working. No one wanted to work. No one was being paid. It was anarchy. Nearly 2,000,000 had now deserted the front and they were loitering in the city with nothing to do. Starving, cold, penniless and angry, they were ripe for the plucking. All Lenin had to do was reach out and take them.”

And take them he did. Militza, Nadezhda and the remainder of the minor Romanovs escape to Crimea where they just about manage to survive until they are rescued by ships of the British navy. A few minutes on Google will reassure readers that Malitza, Nadezhda and Nicholas lived long lives, but each – of course – died thousands of miles away from Petrograd. Only the most rabid and bitter socialist would fail to be touched by the sheer horror of the destruction of the Russian aristocracy described here. Yes, many of them were vain, privileged, and oblivious to the social injustice endemic under Romanov rule. But they were human. Like Shylock, they were entitled to ask{
“ If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die?”
This novel is the result of astonishing historical research, but above all, it is a tale of human resilience, courage and that ineffable human quality immortalised by the words of St Paul, “But the greatest of these is love.” Published by Aria, the book is available now in all formats.

October 10, 2024 0

THE STALKER . . . Between the covers

For fans of domestic psychological thrillers, this will be right up your street. Someone once coined the phrase ‘anxiety porn’ and, without giving too much away, The Stalker fits the bill perfectly. Eloise is an academic at Cambridge. Her subject? Psychology. Her speciality? The phenomenon of stalking. She has published several serious research papers, is regularly called on by the criminal justice system and – naturally – has a social media presence with numerous followers.

She is now in the unfortunate position of having to apply her own professional wisdom to her own life. She has a stalker who, via messages, phone calls and letters, only ever says three words. “Me or you.” Her stalker attacks her from behind on a Cambridge street, causing Elly to crack her head on the pavement. When she discharges herself from hospital, Elly makes her way home, only to find evidence that her husband of 18 years, successful architect Rafe, has been unfaithful. And all this within the first 40 pages.

To add to Elly’s mental turmoil, her 17 year-old son Jamie is a troubled teenager par excellence. He frequently disappears without trace and is close to being thrown off his ‘A’ level course for failing to attend classes and complete coursework. Author Kate Rhodes is parsimonious with her clues, but she does suggest that the clue to Elly’s distress lies in a childhood where she was ostracised by her widowed mother, and brought up by a kindly aunt and uncle. By this stage in the book, most readers, like me, will have made one ‘fatal’ assumption, which will add spice to startling denouement of the novel.

If there were such a thing as an Angst Counter, rather like the device for measuring radioactivity, it would be crackling alarmingly as every page of this book turns. What can go wrong in Elly’s life, does. Yes, she wins a coveted prize for a textbook she has written, but then the university reception in her honour is disrupted by the enraged father of a young woman, now in intensive care, whose stalker was released from prison on Elly’s advice, but then returned to attack her. Elly’s annual report to her boss on her teaching and research, vital for retaining tenure, is wiped from her computer. Someone has also cancelled her college key-card. Obviously the stalker is someone close to Elly, and Kate Rhodes cleverly sets a few hares running, each in a quite different direction. The answer lies in Elly’s troubled past when she was just a girl and, despite a few clues, I didn’t see it coming.

Kate Rhodes (left) makes clever use of the contrast between the enclosed streets and buildings of Cambridge, and their inescapable sense of learning and history, and the timeless sense of space and vastness of The Fens, just beyond the city to the north east. Most of the water that once made The Fen impenetrable to outsiders has gone, but the communities that grew up amid the sedge and reeds are still isolated, insular and inward looking. Elly is ever conscious, even as she sets up a second home in the old cottage once occupied by her aunt and uncle, that despite her investment in security cameras and state-of-the-art alarms, she is just as vulnerable here in the rural darkness as she is in her modernist glass and steel Cambridge home, designed by her husband.

The Stalker is a classy and absorbing thriller which sets the reader a beguiling challenge – to discover just who is the person who is relentlessly trying to destroy Elly’s life. The novel is published by Simon & Schuster, and is available now.

September 30, 2024 0

DEATH AT DEAD MAN’S STAKE . . . Between the covers

Death at Dead Man’s Stake sounds like something from the Wild West, but it is, in this new novel by former copper Nick Oldham, an incident at an isolated farm in Lancashire. With his veteran Henry Christie perhaps taking a well-deserved break at his (hopefully) rebuilt moorland pub, Oldham introduces Detective Sergeant Jessica Raker. After fatally shooting a London gangster following a botched raid on a jewellers’ in Greenwich, Raker has been moved to the North West – where she grew up – in an attempt to distance her from the dead man’s vengeful relatives.

Her first day is nothing if not eventful. She has barely unloaded her kit into the Sergeant’s office from her car, when she is called out to a crisis at Dead Man’s Stake. When the local fire brigade attends an unexplained fire in the derelict farmyard, one of the firefighters is grabbed and held hostage by the farmer, a drunken, mildly crazed man called Bill Ramsden. Jessica rescues the fireman after tazering Ramsden. Her day is not over, however. A cantankerous old man, resident of a local cafe home, is found dead, his corpse floating in a nearby reservoir. Raker, viewing the scene, suspects that a physical struggle lead to the old man ending up in the water.

Jessica Raker is a good copper, but she has been dealt a poor hand. At the Greenwich heist, who was one of the customers eying up an expensive item at the moment the robbers burst in? None other than her husband Josh, a high flying player in a City firm. And the piece of jewellery was intended not for Jessica, but for his secretary. Improbably, the marriage has survived, and Josh is now working in Manchester, but resentful at the move.

Meanwhile, we learn a little more about the man Jessica shot dead in Greenwich. He was the most ungovernable of the sons of Billy Moss, a millionaire crook grown rich on the proceeds of all manner of criminaity, ranging from the inevitable drug trade to trafficking people. Goss wants revenge. He wants the hapless amateurs who lured Terry Moss into the doomed jewellery raid, but most of all, he wants Jessica. The problem is that the Met Police have done a very good job in smuggling her away to the Ribble Valley, and she has gone completely off the Moss radar. Nonetheless, a professional killer is hired to hunt her down and end her life. While on the school run, Jessica bumps into an old adversary. Years ago, when she was growing up in Clitheroe Jessica and Maggie Goss fell out over a mutually desired boyfriend, and Maggie, now boss of huge scrapyard empire, hasn’t forgotten the teenage slights. What is more important is that the scrapyard business is a million miles away from being strictly legit, and one of Maggie’s LinkedIn buddies is none other than Billy Moss.

It is not just Nick Oldham’s years of experience as a working copper that makes his books so good. Nor is it the loving and detailed sense of place, where he describes a beautiful and windswept rural Lancashire, blissful yet only an hour’s drive from pockets of deprivation and criminality like Blackpool. For me, what puts his novels up there on a pinnacle is his sense of dialogue – nothing flashy or pretentiously poetic – but an unerring version of how real people actually speak to each other.

As the Moss organisation moves against Jessica Raker, there is a satisfying symmetry to the main plot, as it ends where it began, out at Dead Man’s Stake. This is a firecracker of a police thriller, and Nick Oldham has established a cast of coppers, with Jess Raker at its heart, who will keep us entertained for many years to come. The novel is published by Severn House, and is available now.

September 25, 2024 0

THEM WITHOUT PAIN . . . Between the covers

Leeds. The early early summer of 1825. Simon Westow is a Thief-taker, a man who recovers stolen goods for a percentage of their value. He has no legal powers except his own knowledge of the city and a keen intelligence. When he encounters criminals, it is up to the city Constable and the magistrates to apply the law. Followers of this series will be familiar with the dramatis personnae, but for new readers, we have:

Simon Westow, Thief-taker
Rosie, his wife
Richard and Amos, their twin sons
Jane Truscott, former assistant to Westow. Very streetwise and deadly with a knife
Catherine Shields, an elderly widow who has provided Jane with a home
Sally – another child of the streets, and Jane’s replacement

Westow is summoned to the house of Sir Robert Foley, a wealthy man whose man-servant has absconded with two valuable silver cups. Foley wants them returned. When the manservant, Thomas Kendall, is found murdered in a secret room of an old city property just about to be demolished, Westow is told, by a Mr Armistead, that the room was once the workshop of Arthur Mangey, a silversmith, who was executed over a century earlier for the crime of Coin Clipping – snipping the edges off silver coins and then re-using the silver.

When Armistead himself is found murdered, Westow finds himself chasing shadows, and unable to make the connection between the ancient misdeeds of Arthur Mangey and persons unknown who are deeply involved in all-too-recent criminality. There is a seemingly unconnected story line in the book, but old Nickson hands know that it will, eventually, merge with the main plot. A disabled Waterloo veteran, Dobson, has gained a mysterious companion known only as John, but when brutalised corpses begin to appear, John becomes the prime suspect. The corpses have been flayed and brutalised almost beyond recognition. Westow, still doggedly determined to find the missing silver cups is increasingly reliant on the quicksilver street-smarts of Sally, and the old head on young shoulders of Jane, who had hoped for a life away from the streets, but has been drawn back into the dangerous game by her determination to avenge the death of Armistead.

A recurrent theme of Nickson’s Leeds novels, both in these Simon Westow tales, and the Tom Harper stories, set eight decades later, is that of the search. Both Westow and Harper frequently become involved in a search for a key suspect, often someone from ‘out of town’. It is a very simple literary device, but a very effective one, as it provides a platform for Nickson to use his unrivalled knowledge of the city as it once was, its highways, byways, grand houses and insanitary tenements. As we follow Weston’s search for a ruthless killer, the modern streets of Leeds that many readers know are stripped away to reveal the palimpsest of the buildings that once stood there and the people who inhabited them.

Another essential feature of the books is that his heroes don’t inhabit a timeless world, where they are perpetually in their early thirties, strong and vigorous. Tom Harper aged as the series went on, but he was allowed a comfortable old age and peaceful death. Here, Simon Westow is shaken by the recognition that, like Tennyson Ulysses, the years have taken their toll:

“ Tho’ much is taken, much abides; and tho’
We are not now that strength which in old days
Moved earth and heaven, that which we are, we are;
One equal temper of heroic hearts,
Made weak by time and fate, but strong in will
To strive, to seek, to find, and not to yield.”

He is aware that his reflexes are slower, the antennae that once sensed danger and threat are less sensitive, and he is ever more conscious of his own mortality, and his need of people like Sally and Jane to watch his back.

The novel boils down to three pursuits. Simon Westow hunts the man who stole Sir Robert’s cups, Sally wants her knife deep inside the man, known only as John, who murdered her fellow urchin Harold, while Jane vows to kill the man who killed the amiable and blameless Armistead.

Chris Nickson never sugar-coats history, and makes us well aware that modern Leeds, with its universities, its international sporting venues and museums, was built on the blood sweat and tears of millions of ordinary people who grew up, toiled, loved lived and died under the smoky pall of its foundry furnaces, and had the deafening percussion of industrial hammers forever ringing in their ears. Jane, Sally and Simon-at a cost-each get their man in this excellent historical thriller, which is published by Severn House and is available now. For reviews of previous Simon Westow stories, click the author image on the left.

September 16, 2024 0

HOLMES AND MORIARTY . . . Between the covers

No fictional character has been so imitated, transposed to another century, Steampunked, turned into an American, or subject to pastiche than Sherlock Holmes. In my late teens I became aware of a series of stories by Adrian Conan Doyle (the author’s youngest son) and I thought they were rather good. Back then, I was completely unaware that the Sherlock Holmes ‘industry’ was running even while new canonical stories were still being published in the 1890s. Few of them survive inspection, and I have to say I am a Holmes purist. I watched one episode of Benedict Cumberbatch’s ‘Sherlock’, and then it was dead to me. As for Robert Downey Jr, don’t (as they say)”get me started.” For me, the film/TV apotheosis was Jeremy Brett, but I have a warm place in my heart for the 1950s radio versions starring Carleton Hobbs and Norman Shelley.

How, then, how does this latest manifestation of The Great Man hold up? The narrative has a pleasing symmetry. The good Doctor is, as ever, the storyteller, but as the book title suggests there is another element. Alternate chapters are seen through the eyes of a man called Moran who is, if you like, Moriarty’s Watson. Gareth Rubin’s Watson is pretty much the standard loyal friend, stalwart and brave, if slightly slow on the uptake. Moran’s voice is suitably different, peppered with criminal slang and much more racy.

The case that draws Holmes into action is rather like The Red Headed League, in that a seemingly odd but ostensibly harmless occurrence (a red haired man being employed to copy out pages of an encyclopaedia) is actually cover for something far more sinister. In this case, a young actor has been hired to play Richard III in a touring production. He comes to Holmes because he is convinced that the small audiences attending each production are actually the same people each night, but disguised differently each time.

Meanwhile, Moriarty has become involved in a turf war involving rival gangsters, and there is an impressive body count, mostly due to the use of a terrifying new invention, the Maxim Gun. There is so much going on, in terms of plot strands, that I would be here all week trying to explain but, cutting to the chase, our two mortal enemies are drawn together after a formal opening of an exhibition at The British Museum goes spectacularly wrong when two principal guests are killed by a biblical plague of peucetia viridans. Google it or, if you are an arachnophobe, best give it a miss.

Long story short, three of the men who led the archaeological dig that produced the exhibits for the aborted exhibition at the BM are now dead, killed in some sort of international conspiracy. It is worth reminding readers that as the 19thC rolled into the 20thC, the pot that eventually boiled over in 1914 was already simmering. Serbian nationalism, German territorial ambitions, the ailing empires of the Ottomans and Austria Hungary, and the gathering crisis in Russia all made for a toxic mix. This novel is not what I would call serious historical fiction. It is more of a melodramatic – and very entertaining – romp, and none the worse for that, but Gareth Rubin makes us aware of the real-life dangerous times inhabited by his imaginary characters.

Eventually Holmes, Watson, Moriarty and Moran head for Switzerland as uneasy allies, for it is in these mountains that the peril lurks, the conspiracy of powerful men that threatens to change the face of Europe. They fetch up in Grenden, a strange village in the shadow of the Jungfrau and it is here, in a remarkably palatial hotel given the location, they are sure they have come to the place from which the plot will be launched. By this stage the novel has taken a distinctly Indiana Jones turn, with secret passages, and deadly traps (again involving spiders).

This is great fun, with all the erudition one would expect from The Great Consulting Detective and with a rip-roaring adventure thrown in for good measure. It is published by Simon & Schuster, and will be available at the end of September.

September 11, 2024 0

A VIOLENT HEART . . . Between the covers

David Fennell introduced us to London copper DI Grace Archer in The Art of Death (2021) Now, she returns in a complex new case which involves cold case crime and the murders of sex workers, decades apart. The investigation becomes very here-and-now when the body of a young Croatian woman called Elena Zoric is found. She died from a puncture wound to her chest, but whatever killed her, it wasn’t a bullet.

The best police procedurals always give us a fly-on-the-wall account of the personalities and tensions that exist inside a police station. Because her previous superior has been sideline and has to care for her husband, struck down with Long Covid, Grace Archer has a new boss, Chief Inspector Les Fletcher, He is described as a “gammon-faced Yorkshireman” with more than a trace of the toxic masculinity common to that breed. Archer’s wing man is Belfast born DS Harry Quinn – reliable and intuitive. Less helpful is DI Lee Parry, nephew of the Metropolitan Police Commissioner, but about as much use as a chocolate fireguard. He is lazy, venal and prepared to cut corners for an easy life.

I have often observed that Detective Inspectors in British crime novels are, perhaps, overused. There are very sound reasons for this, however. DIs are perfectly placed to be both at the centre of investigations bureaucratically, while able to be out on the street, at the crime scene, and in the faces of the bad guys. Much more rare is the novel where a humble DC is the locus of activity. I can think of only one series, and that was written by Alison Bruce, and featured Cambridge Detective Constable Gary Goodhew. My review of The Silence is here. That being said DI Grace Archer is a welcome guest at a party held in a very crowded room.

We have here something of a whirling dervish of a plot, which spins this way and that and incorporates apparently disconnected events. We have a bizarre (but sadly all-too-credible) social ‘influencer’ called Calvin ‘Dixy’ Dixon whose latest Tik-Tok sensation shows him talking to the dessicated corpse of a woman sitting in a wheelchair in an abandoned house. There is also something that might become a ‘love interest’ angle, when Liam, a builder friend of Harry Quinn, is booked to renovate Archer’s house. He also happens to be extremely handsome, and brings with him freshly baked croissants to share before he starts work each day.

Then there is Mallory Jones, the guiding light in a successful podcast called Mallory Jones Investigates. She alternately helps and hinders Archer’s search for a man whose weapon of choice appears to be some kind of bolt gun. Finally, in far-off Berwick on Tweed, we have the Mercer family. Barry and Isla, and Isla’s brother Simon. Barry and Isla are both ex-coppers, but their teenage daughter Lily has fallen in with a bad crowd, and makes fistfuls of cash by appearing in amateur porn videos with her bestie, Gemma.

Archer is concerned to discover that, back in the day, her new boss Les Fletcher was, as a young PC, involved in the older murder investigations, and her informants tell her that he was rude and unsympathetic, strongly showing his prejudice that as ‘working girls’, getting assaulted by clients just went with the job.

As you might expect, David Fennell seizes the frayed ends of these plot strands and weaves them together to make for a highly satisfying conclusion. There is a savage and sanguinary denouement in, most appropriately, a disused abattoir. Not everyone survives the carnage, but as the emergency vehicles trundle off into the night, we have catharsis. Grace Archer certainly has her own demons to torment her, but she is a courageous and resourceful copper with a fierce determination to pursue the truth. A Violent Heart is published by Zaffre and is available now.

September 5, 2024 1

THE DARK WIVES . . . Between the covers

Readers who have also watched the successful TV series dramatising the Vera Stanhope novels will have their own views on how Brenda Blethyn’s Detective Inspector matches up to the woman on the printed page. I stopped watching TV versions of police procedurals years ago, with the demise of John Thaw, so my take is purely based on the book. Vera Stanhope is a dowdy, frumpish woman in her 50s, lonely and probably a social misfit. Brought up by an eccentric father, Hector, in a moorland cottage in Northumbria, denied (by premature death) a mother’s love, she is a formidably intelligent detective. She drives a battered Land Rover, has holes in her socks, and doesn’t suffer fools gladly.

Here, she is handed a complex case that has splintered into myriad issues. At its heart is the apparently motiveless murder, by hammer attack, of an undergraduate and part time social worker, Josh Woodburn. A teenage girl, Chloe Spence, who was a reluctant resident at Rosebank, where Josh worked shifts, has gone missing. Where is she, and why was film and media enthusiast Josh, unbeknown to his family, moonlighting with shifts at a children’s home?

Vera has the death of one of her team, a Detective Constable called Holly, on her conscience, but she takes a maternal interest in Holly’s replacement, Rosie Bell, a rather glamorous and fashion conscious young woman who is actually a very good copper. When another inmate of Rosebank, a young chancer called Bradley Russell is found dead in a remote hillside bothy, the case becomes more complex.Without, I hope, giving too much away, Vera’s hunch is that Josh Woodburn’s death is connected with what he was really doing at Rosebank. Josh was a decent, caring young man, and very good with the children, but that wasn’t the main reason he was there. When Vera, with the help of fellow officer Charlie, joins the dots, the picture also explains why Brad also had to die.

Both the season and the mood of the book are distinctly autumnal. Vera’s work is her life, and there seems to be little outside the job. The depressing world of broken homes, absent fathers, and a society where children’s homes are run by shadowy corporations on a distinctly for profit basis does not improve Vera’s downbeat view of the world but, to borrow a line from Matthew Arnold’s Thyrsis, “The light we sought is shining still.”, and in Vera’s case the faint glimmer is provided by bringing justice to the dead. She couldn’t be more different from Derek Raymond’s nameless detective in the Factory Novels (click for more information) but they have the same fierce resolve.

If years of reading police-procedural crime novels has taught me anything, it is that well-balanced, happily married Detectives are not fun. Vera Stanhope is forever on the edge of things, caught up in her own personal history and sense of regret, reluctantly wearing a halo of missed opportunities and ‘what ifs’.. Her fierce empathy with those society has cast aside, combined with her innate shrewdness and ability to pick out a ‘wrong-un’ make her one of the genre’s most treasured creations.

The Dark Wives of the title are three stone monoliths on the fellside near Vera’s home. Legend has it that they were three strong willed women who were turned to stone by husbands fed up with their feistiness. In the preface, Anne Cleeves writes:
“The book is dedicated to teens everywhere, and especially to The Dark Wives – uppity young women with minds of their own, struggling to find a place in a difficult world.”
The novel is published by Macmillan and was published on 29th August.

September 1, 2024 1

THE LAZAR HOUSE . . . Between the covers

Diane Calton Smith’s medieval mysteries, set in Wisbech, don’t follow a continuous time line. The most recent, Back To The Flood, is set in 1249, while The Lazar House, published in 2022, is set in 1339. The geography of the town is much the same as in The Charter of Oswyth and Leoflede, where the author takes us back to 1190. In this book, most of the town still sits between two very different rivers. To the west, The Wysbeck is a sluggish trickle, easily forded, while to the east, the Well Stream is broader and more prone to violence.

South of the town is the hamlet of Elm (now a prosperous village) and on its soil stands The Lazar House. It is a hospice for those suffering from leprosy. Basically under the governance of the Bishop of Ely it must, however, be self financing. There was a deeply held belief, in those times, in the concepts of Heaven, Hell, and their buffer zone of purgatory. People believed that if they had any spare cash or – more likely – produce, and they gave it to a charity such as The Lazar House, then prayers would be said that would minimise the time donors’ souls had to spend waiting in the celestial ‘waiting room’ of Purgatory.

A rather grand supporter of The Lazar House is Lady Frideswide de Banlon. Widow of a rich knight, she has bestowed on The Lazar House tuns of fine ale from her demesne’s brewery, and it is a vital part of their constant attempts to stay solvent. Remember that ale, of various strengths, was a standard drink for all, as there was little water safe enough to drink.

Sadly, there is a downside. Frideswide is scornful, aggressive and deeply unpleasant in her dealings with those she deems lesser mortals. There is no shortage of people she has belittled, offended or denigrated. Much of the story unfolds through the eyes of Agathe, daughter of a local Reeve. She has chosen to work as what we now call a nurse at The Lazar House. Despite her robes, she has not taken Holy Orders and, should she choose, is perfectly able to accept the offer of marriage, proposed by another lay member of the community, Godwin the Pardoner. Put bluntly, his job is rather like that of a modern politician working with lobbyists. In return for financial favours or donations in kind, he has licence to forgive minor sins and guarantee that prayers of redemption will be whispered on a monthly, weekly – or daily basis – depending on the size of the donation.

When Lady Frideswide is found dead beside the footpath between The Lazar House and the brewery, the Bishop’s Seneschal, Sir John Bosse is sent for and he begins his investigation. His first conclusion is that Frideswide was poisoned, by deadly hemlock being added to flask of ale, found empty and discarded on the nearby river bank. He has the method. Now he must discover means and motive. Bosse is a shrewd investigator, and he realises that Frideswide was not, by nature, a charitable woman, therefore was the valuable gift of ale a penance for a previous sin? Pondering what her crime may have been, he rules out acts of violence, as they would have been dealt with by the authorities. Robbery? Hardly, as the de Banlon family are wealthy. He has what we would call a ‘light-bulb moment’, although that metaphor is hardly appropriate for the 14th century. Frideswide, despite her unpleasant manner, was still extremely beautiful, so Bosse settles for the Seventh Commandment. But with whom did she commit adultery?

When Bosse finds out the identity of her partner ‘between the sheets’, he is surprised, to say the least, but the revelation does not immediately bring him any nearer to finding her killer. The solution to the mystery, in terms of the plot, is very elegant, and worthy of one of the great writers of The Golden Age. It comes as a shock to the community, however, and brings heartbreak to more than one person. Diane Calton Smith draws us into the world of The Lazar House to the extent that when they suffer, so do we. The last few pages are not full of Hardy-esque bitterness and raging against life’s unfairness. Rather, they point more towards the sunlit uplands and, perhaps, better times ahead.

This is as clever a whodunnit as you could wish to read, and an evocative recreation of fourteenth century England. The author brings both the landscape and its people into vivid life. Published by New Generation Publishing The Lazar House is available now.